PETER MORRENS (BE) - MÊME TEMPS, 2017
Peter Morrens speaks of the centrality of strong personal experiences and feelings in his practice, with each drawing charged with the weight of private memories and associations, as well as with the sense of urgency, ambiguity and even ridiculousness that often accompanies reflection upon such resonant experiences. It is perhaps the urgency of the facture, eloquent of a physically concentrated working process, that indexes this affective content most directly for the viewer. While the artwork is not a transparent window into another person’s consciousness, an apprehension of the ‘grain’ of the lively working body is unmistakable. It is this ‘grain’, this interference and impurity, that Morrens’ work feeds on, holds up and sets to work. In this way the manner in which the physicality of art’s materials and processes is declared has something to do with a type of engagement with the extra-artistic world. Morrens’ drawings above all give form to an attitude: unprecious, energetic, inclusive, disobedient and paradoxical. Obliquely, they suggest a modus operandi for negotiating the everyday world and, as such, constitute their own kind of interpretation of it.
‘Do, Undo, Redo (on recent drawings by Peter Morrens)’ Ed Krčma in ‘COVERS’, Posture Editions, 2014
‘Do, Undo, Redo (on recent drawings by Peter Morrens)’ Ed Krčma in ‘COVERS’, Posture Editions, 2014
